The Most Heard, Least Known Composers In America
Music supervisors and producers have more song libraries available to them then ever before. That’s exactly why Stephen Arnold Music felt an “anti-library” collection that they call The Vault was needed.
The Vault was designed by Stephen Arnold Music to take maximum advantage of the assets that made them a leader in Sonic Branding. The company is staffed full-time with composers that are called on regularly to aurally differentiate the likes of CNN, The Weather Channel, ESPN, Nat Geo, Discovery and dozens more brands and networks across the globe.
For a talent pool like that, the musical aptitude doesn’t stop at three-note mnemonics. This is a group that knows how to write a hit song, or to recognize when one has been submitted to The Vault by their handpicked team of contributing songwriters.
As a result, each cut is either from a world-class in-house composer that can “brand the brands”, or from a short list of established hitmakers that include Greg Barnhill (Tim McGraw, Jessica Simpson, Pam Tillis, Tricia Yearwood) and Tom Freund (Josh Kelley, Mandy Moore, Graham Parker, Ben Harper). New selections from Diana Krall are another indication of the elite standards set by The Vault.
The need to find 100% licensable music inside of last-second deadlines comes with the territory for music supervisors and producers, and The Vault meets those realities head on. Built around a fast-moving Web interface, its extremely selective catalog, and exclusive representation, The Vault is all about being cleared for takeoff.
It’s small, which means no fluff, super high quality, relevant and easy to manage. (No useless garbage on search results.) Most libraries claim stuff like 10,000 to 200,000 tracks, which means the vast majority are often dated and not relevant. We’ve been painfully discriminating as to what we include.
Visual Music – Most tracks were created for real projects and scored to picture, with multiple edit points.
Musical Music – Melodies, chord changes and hooks written by real composers, not just loops and textures strung together and mixed on a computer in a bedroom.
“The ‘Wow factor’ is criterion #1 for every cut in The Vault – we know it when we hear it,” says Stephen Arnold, President of Stephen Arnold Music. “When you build a song collection that’s run by music makers, instead of a sales force, that’s when you have an ‘Anti-Library’ that can really get the job done.”